Schultze & Weaver

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The hotel-trophy argument

A particular tier of Manhattan luxury exists nowhere else and was, for the most part, designed by one firm. The buildings are not pure-residential pre-war cooperatives in the Candela / Cross & Cross / Rosario Candela tradition. They are not new-construction condominium towers. They are hybrids — grand hotels that, over the decades following the Depression, partially converted to cooperative ownership while preserving the hotel program at street level. Their lobbies operate as hotel lobbies. Their service infrastructure operates as a hotel's. Their residents are shareholders in a cooperative apartment building that happens to share a roof with one of the most globally recognized hotel brands in the world.

There are essentially three such buildings on the southeast corner of Central Park, plus a fourth, much larger one a few blocks south on Park Avenue. The Sherry-Netherland (1927). The Pierre (1930). The Waldorf-Astoria (1931). All three were designed by the same New York architectural firm. The Carlyle, the most prominent Manhattan trophy hotel-cooperative not designed by Schultze & Weaver, was a 1930 commission of Sylvan Bien — and it followed the typological template that Schultze & Weaver had already established.

For a specific buyer profile — residents who value hospitality-grade service, global brand recognition, and the cultural register of an inter-war grand hotel paired with cooperative ownership — Schultze & Weaver effectively invented the category. They are among the most consequential architects in twentieth-century American hospitality, and three of their most consequential commissions are within a ten-minute walk of one another at the southern edge of Central Park.

The partnership

The firm of Schultze & Weaver was formed in 1921 by Leonard Schultze (1877–1951) and S. Fullerton Weaver. The partnership was unusual at its founding. Schultze was the architect; Weaver, who had owned and directed a construction company in New York, was the business and engineering principal. The firm operated as a multidisciplinary practice — real estate, architecture, and engineering under one roof — at a moment when most American architectural firms remained narrowly design-focused. The structure proved a competitive advantage in hotel work, where development complexity, financing, and construction sequencing demanded an integrated practice.

Schultze's training before the partnership matters for understanding the firm's later sensibility. Born in Chicago in 1877, he was a pupil of the Franco-American architect Emmanuel Louis Masqueray at the Atelier Masqueray, then joined the New York office of Warren & Wetmore — the firm that would become best known for Grand Central Terminal. Schultze worked at Warren & Wetmore for approximately twenty years, serving as the firm's Chief of Design and Executive in Charge of Design and Construction for the Grand Central project (1903–1913). The Warren & Wetmore years left their imprint: Schultze's later work consistently demonstrated the Beaux-Arts compositional discipline, the architectural eclecticism (drawing freely from French Renaissance, Italian Renaissance, Gothic, and Art Deco vocabularies), and the public-room scale ambition that defined the Warren & Wetmore office's most consequential commissions.

Weaver's death in 1940 ended the partnership. Schultze reorganized the firm as Leonard Schultze & Associates and continued practicing until his death in 1951. But the firm's defining body of work — the trophy hotels of the late 1920s and early 1930s — was complete by the time Weaver died. Between 1921 and 1931, the partnership designed fourteen hotels, among them the most architecturally consequential American hospitality commissions of the inter-war era.

The Wolfsonian-FIU in Miami Beach holds the firm's archive — more than 8,000 architectural drawings, documents, and photographs produced by the practice from 1921 into the 1940s. The Wolfsonian's curatorial framing of the collection — most explicitly in the museum's Grand Hotels of Schultze & Weaver exhibition program — positions the firm as "America's first entertainment architects" and as precursors to the postwar Hilton model. That framing is broadly correct. Schultze & Weaver were themselves a well-branded luxury hospitality product with a portfolio stretching from Havana to Los Angeles, and their buildings collectively shaped the American public's mental image of what a grand hotel should look like.

Why Schultze & Weaver matter

Three points define the firm's significance.

First, the firm specialized. Most American architectural practices of the era were generalist, taking commercial, residential, institutional, and occasional hospitality work. Schultze & Weaver concentrated on luxury hotels — fourteen of them in the partnership's defining decade — and in doing so developed a deep institutional command of the hotel program. Public-room circulation, kitchen and service infrastructure, guest-room module efficiency, the placement and detailing of ballrooms and dining rooms, the integration of street-level retail with hotel program: all of it was honed across a body of work that no contemporary American firm matched in concentration.

Second, the firm worked across architectural vocabularies. The Sherry-Netherland is Gothic Revival in its spire, Renaissance Revival in its lobby program, and Art Deco in elements of its detailing. The Pierre is French Renaissance / Châteauesque. The Waldorf-Astoria is Art Deco. The Miami Biltmore Coral Gables draws on Spanish Renaissance and the Giralda of Seville. The Breakers in Palm Beach is Italian Renaissance modeled on the Villa Medici. The firm did not impose a single vocabulary. It deployed whichever idiom served the program and the location. That breadth was unusual and remains one of the firm's most distinctive characteristics.

Third, and most consequentially for Manhattan: Schultze & Weaver's three trophy hotels at the southern edge of Central Park collectively defined what a grand New York hotel looks like to the American public. The silhouettes of all three are among the most photographed elements of the Manhattan skyline. The Pierre's green-tiled mansard. The Sherry-Netherland's Gothic spire. The Waldorf-Astoria's twin Park Avenue towers. These are not regional architectural footnotes. They are, by the standards of cultural recognition, among the most successful pieces of American architecture produced in the twentieth century.

The Sherry-Netherland (781 Fifth Avenue, 1927)

The Sherry-Netherland is the earliest of the firm's three Manhattan trophy hotel-residences. It is also the most architecturally exuberant — the most deliberately eclectic — of the three.

The building was developed by the restaurateur Louis Sherry, whose name still anchors the building, and the hotelier Lucius Boomer, whose involvement here directly connects to the larger Schultze & Weaver Manhattan project. Boomer was simultaneously developing the Waldorf-Astoria, which would open four years later on Park Avenue with the same architectural firm. The Sherry-Netherland was Boomer's first New York commission with Schultze & Weaver and established the working relationship that produced the Waldorf.

Schultze & Weaver worked in association with Buchman & Kahn on the Sherry-Netherland. The result is a 38-story tower of 560 feet at the corner of Fifth Avenue and 59th Street — directly opposite Grand Army Plaza, with the southeast corner of Central Park as its immediate context. At completion, it was the tallest apartment hotel in New York City. The exterior composition stacks three architectural registers: a travertine marble base, a brick mid-section, and a distinctive Gothic Revival spire crown. The spire — directly engaging the Gothic vocabulary that was unfashionable in the late 1920s and that no other Manhattan hotel attempted at this scale — is what makes the silhouette unmistakable on the Grand Army Plaza skyline.

The interior signature is the lobby. Its hand-painted ceiling, restored in 2014, draws explicitly from Renaissance fresco traditions and remains among the most architecturally substantial cooperative-building lobbies in Manhattan. No other Manhattan apartment building approaches this register of daily-life public space.

The cooperative conversion is structurally important. The Sherry-Netherland converted from hotel-only to hybrid hotel-cooperative ownership in 1954–1955, producing 165 cooperative apartments alongside the continuing 50-room hotel operation. The conversion predates The Pierre's by approximately four years and predates The Carlyle's by approximately fifteen years. Original shareholder pricing — from $5,100 for studios to $50,000 for duplexes — captures both the era's pricing context and the foresight of buyers who acquired apartments at what now reads as essentially nominal pricing. Many of those shares have been held by the same families across generations.

Today the Sherry-Netherland's 165 cooperative apartments distribute across the 38-story envelope with full-floor configurations above the 24th floor, multi-apartment-per-floor layouts at the base, and a small number of architecturally distinctive upper-tower apartments with unusual ceiling configurations that reflect the Gothic spire's geometry. Harry Cipriani occupies the street level. The building is within the Upper East Side Historic District, designated 1981.

For Schultze & Weaver's Manhattan typology, the Sherry-Netherland is the founding document.

The Pierre (795 Fifth Avenue, 1930)

The Pierre, three years later, is the architectural counterpoint to the Sherry-Netherland: where the Sherry stacks multiple vocabularies, the Pierre commits decisively to a single one. The building is a 525-foot French Renaissance / Châteauesque tower with a green-tiled mansard pyramidal crown — a roofline that is among the most photographed elements of the Manhattan skyline.

The Pierre was developed by Charles Pierre Casalasco, a Corsican restaurateur who had operated successful New York establishments and partnered with a syndicate of leading New York financiers — Otto H. Kahn, Finley J. Shepherd, E. F. Hutton, and Walter P. Chrysler among them — to capitalize the building at $15 million. The hotel opened in October 1930 to extensive press coverage and immediate cultural recognition.

Two years later it was bankrupt.

The Depression unraveled the original financing structure with brutal efficiency. The Pierre changed hands multiple times across the 1930s and 1940s. The building's modern identity took shape under J. Paul Getty, the oilman, who acquired the hotel in 1938 for approximately $2.5 million — by any reasonable measure one of the more decisive real estate trades of the era. Two decades later, recognizing both the hotel's distressed economics and the rising New York demand for trophy residential addresses, Getty converted a portion of the building to cooperative ownership in 1959. The conversion produced 77 cooperative apartments alongside the continuing hotel operation, a structure that proved sufficiently successful that it became the template for subsequent Manhattan hotel-cooperative hybrids.

The Pierre's cultural resident roster reads as a fairly complete catalogue of twentieth-century Manhattan visibility. Cary Grant lived in the building. Elizabeth Taylor lived in the building. Aristotle Onassis maintained an apartment. Yves Saint Laurent died in the building in 2008. The hotel side has hosted heads of state, every category of celebrity, and a continuing program of weddings and state events. The combination of cultural cachet, Grand Army Plaza positioning, and the Schultze & Weaver architectural distinction places The Pierre in a particular cultural register that no comparable Manhattan address replicates.

The Taj Hotels operating partnership (since 2005) has continued the hotel program with substantial restoration of the original Schultze & Weaver public interiors — the Rotunda, the Cotillion Room, the Wedgwood Room — and continued investment in the building's shared infrastructure. Residents have access to the hotel's service program on an a la carte basis. The cooperative entrance on East 61st Street operates independently of the hotel entrance on Fifth Avenue.

Of the firm's three Manhattan commissions, The Pierre is the most stylistically committed and arguably the most architecturally refined. The Châteauesque vocabulary is executed at a level that European-trained architects of the era would have recognized as serious work.

The Waldorf-Astoria (301 Park Avenue, 1931)

The Waldorf-Astoria is the firm's largest commission and, by any measure, among the most architecturally consequential Art Deco hotels in the world.

The original Waldorf-Astoria had occupied the site of the present Empire State Building on Fifth Avenue between 33rd and 34th Streets. That building was demolished in 1929 to make way for the Empire State Building. The hotel's owners — the same Lucius Boomer who had developed the Sherry-Netherland — commissioned Schultze & Weaver to design a successor building on Park Avenue between 49th and 50th Streets, a site that occupied an entire city block above the New York Central Railroad's tracks running into Grand Central Terminal.

The new Waldorf-Astoria opened on October 1, 1931. It was a 47-story, 625-foot Art Deco tower clad in elegant limestone, with twin towers crowning the Park Avenue elevation — at completion, the tallest and largest hotel in the world. Lloyd Morgan led the original design within the Schultze & Weaver office. The two-block-long Park Avenue facade remains among the most consequential pieces of street-level architecture on the avenue.

The interior program was — and remains, in restored form — a working catalogue of Art Deco public-space design. The Grand Ballroom, the Silver Corridor, the Basildon Room, the Jade Room, the Astor Room, the legendary Park Avenue lobby with its inlaid mosaic floor: collectively, these spaces constitute one of the most architecturally substantial interior programs in twentieth-century American architecture. The Waldorf-Astoria has been a New York City Landmark since 1993; the interior public spaces are separately protected.

The building closed in 2017 for an eight-year, approximately $2 billion restoration and partial residential conversion under Skidmore, Owings & Merrill. The hotel reopened in July 2025 with 375 guest rooms (down from approximately 1,400) and a new condominium program of 372 residential units occupying the upper floors. The interiors of the new residential units were designed by Jean-Louis Deniot; the hotel's public spaces and guest rooms were designed by Pierre-Yves Rochon. The 43,000-square-foot event program — including the restored Grand Ballroom — reopened concurrently. SOM's preservation work within the Schultze & Weaver public interiors has been substantial and was, by the accounting of independent architectural critics, executed at the high end of contemporary restoration practice.

The result is structurally consequential for the broader Manhattan trophy hotel-cooperative typology that Schultze & Weaver invented. The Waldorf's new residential program is condominium rather than cooperative — a structural distinction worth noting — but the basic combination of hospitality-grade hotel program plus private residential ownership in a single Schultze & Weaver building is now the largest such program in Manhattan. The Waldorf, as of 2025, is back in the inventory of buildings that buyers in this category should evaluate.

The Miami and Florida portfolio

Schultze & Weaver's work was not confined to New York. The firm's Florida portfolio — concentrated in the 1925–1926 Florida real estate boom — is independently significant and is the reason the firm's archive lives at the Wolfsonian-FIU in Miami Beach rather than in New York.

The Roney Plaza Hotel in Miami Beach (1925) was a nine-story Mediterranean Revival hotel at Collins Avenue and 23rd Street, developed by the New Jersey lawyer Newton Baker Taylor Roney. The Roney Plaza was Miami Beach's first oceanside grand hotel and remained among the most prestigious addresses in South Florida through the 1940s. It was demolished in 1968 to make way for a residential complex.

The Miami Biltmore Hotel in Coral Gables (1926) is the firm's most architecturally consequential Florida commission. Developed by John McEntee Bowman (the founder of the Biltmore hotel chain) in partnership with George Merrick (the developer of Coral Gables), the Biltmore opened on January 14, 1926, at the apex of the Florida building boom. The 315-foot tower — inspired by the Giralda, the medieval tower of the Cathedral of Seville — was Florida's tallest building at completion and held that title until 1928. The hotel's 22,000-square-foot pool with an 85-foot diving platform was, and remains, the largest hotel pool in the continental United States. The Biltmore served as a hospital during World War II and as a Veterans Administration facility through the 1960s; it was abandoned for nearly two decades before being restored and reopening as a hotel in 1987. It is now a National Historic Landmark.

The Hotel Sevilla-Biltmore in Havana (1924), the Breakers in Palm Beach (Italian Renaissance, modeled on the Villa Medici in Rome), the Atlanta Biltmore (1924), the Los Angeles Biltmore (now the Millennium Biltmore, 1923), the Nautilus in Miami Beach, the Park Lane Hotel and the Lexington Hotel in New York: collectively, this constitutes one of the most concentrated luxury hotel portfolios produced by any American firm in the inter-war period. The Wolfsonian's archive holds drawings and documents from all of these projects and from many that were never built.

The Florida work matters for a Manhattan-focused audience for two reasons. First, it establishes that the Manhattan trophy hotels were not anomalies — they were the New York expression of a broader practice that had already produced significant hospitality work in three other major American hotel markets. Second, the Florida work and the New York work were architecturally cross-pollinating: the Mediterranean Revival vocabulary of Miami informs the eclectic detailing of the Sherry-Netherland, and the Beaux-Arts compositional discipline of New York informs the public-room program of the Florida buildings.

The hotel-as-cooperative typology

The structural innovation that Schultze & Weaver's Manhattan hotels enabled — though did not themselves design — is the hotel-as-cooperative. The mechanism is worth understanding because it defines the buying experience at the Sherry-Netherland and The Pierre today, and because it is genuinely uncommon outside this specific group of buildings.

In a conventional Manhattan cooperative, the entity that owns the building is a corporation. Shareholders own shares in the corporation that entitle them to occupy a specific apartment under a proprietary lease. Maintenance fees fund the corporation's operating expenses; the corporation handles taxes, mortgages, staffing, and capital projects. Board approval gates new shareholders. This is the standard Manhattan pre-war model.

The hotel-as-cooperative variant adds a second layer. The corporation owns the residential portion of the building. A separate operating entity — sometimes affiliated, sometimes contractually arm's-length — operates the hotel portion. The two share infrastructure (mechanical systems, structural envelope, certain shared public spaces) and a single physical address, but they are organizationally distinct. Residents are shareholders in the residential cooperative; hotel guests are paying customers of the hotel operator. Service infrastructure — concierge, doorman, room service, housekeeping, food and beverage — is typically structured so residents can use hotel services on an a la carte basis, paying separately for what they consume.

The conversion wave that produced this category was concentrated in the late 1950s and 1960s. The Sherry-Netherland was first (1954–1955). The Pierre followed under J. Paul Getty's direction (1959). The Carlyle, designed by Sylvan Bien and not a Schultze & Weaver building, completed its conversion in the late 1960s. The economic logic was similar across all three: the original hotel businesses had been damaged by the Depression and the immediate post-war hospitality cycle, and the rising tide of post-war Manhattan luxury residential demand made cooperative conversion structurally attractive. Selling cooperative apartments produced immediate capital that the hotel operations could not generate as quickly. Residents acquired what amounted to permanent residences in a building with hotel-grade service infrastructure.

Two features of the typology have aged well, and one has aged ambiguously.

The features that have aged well: hospitality-grade service is a permanent amenity that no pure-residential cooperative can replicate without paying full per-staff overhead, and the brand recognition of a globally famous hotel is a permanent asset that no pure-residential pre-war can match. Buyers acquire both at a meaningfully lower cost than would be required to build an equivalent service program from scratch.

The feature that has aged ambiguously: hotel guests circulate through some of the same public spaces that residents use. For buyers who value strict residential privacy, this is a real cost; for buyers who value the social texture and cultural register of a grand hotel, it is a real benefit. This distinction is the principal axis on which buyers should evaluate hotel-cooperative inventory against pure-residential alternatives.

The 2025 Waldorf-Astoria reopening adds a variation. The Waldorf's new residential program is condominium rather than cooperative, which means board approval mechanics are dramatically less restrictive and financing terms more flexible. The Waldorf is therefore structurally more accessible than the Sherry-Netherland or The Pierre — different buyer profile, different transactional friction, different long-term cultural register. Buyers evaluating the broader Schultze & Weaver category should understand that the Waldorf's program now operates on different rules than the older two.

Cultural and market legacy

The mixed-use trophy hotel-residence is a distinct category of Manhattan luxury that is, in its mature form, almost entirely a Schultze & Weaver invention. The brand recognition of a grand hotel paired with cooperative apartment ownership produces a particular buyer profile that does not overlap meaningfully with the buyer profile for pure-residential tier-one cooperatives.

Two categories of buyer concentrate in this inventory.

The first is the buyer for whom service is the primary asset. Globally mobile, often holding residences in multiple cities, frequently traveling, sometimes maintaining the apartment as a part-time New York base alongside primary residences elsewhere. For this buyer, the ability to leave the apartment for six weeks and return to a building that has continued operating at hotel-grade standards is the structural reason for the purchase. The Sherry-Netherland and The Pierre are well-calibrated to this buyer profile; the Waldorf's new condominium program is more so, given its lower transactional friction.

The second is the buyer for whom cultural register is the primary asset. The brand recognition of the Sherry-Netherland, The Pierre, and the Waldorf-Astoria carries weight in social, professional, and philanthropic contexts that the addresses of pure-residential pre-wars (even very prestigious ones) do not always carry outside Manhattan. For this buyer, the building's cultural identity — its history, its film and television presence, its public visibility — is the structural reason for the purchase.

For both buyer profiles, the relevant comparable set is small. The full Manhattan hotel-cooperative inventory is The Sherry-Netherland, The Pierre, The Carlyle, and (now) the Waldorf-Astoria. The Plaza's 2008 partial condominium conversion produced inventory that is structurally adjacent but not identical, given that The Plaza is not a Schultze & Weaver building and its conversion mechanics differ. Beyond this set, there are no Manhattan buildings that combine the cooperative ownership structure with hotel-grade service infrastructure at this scale.

Buying a Schultze & Weaver hotel-residence today

For buyers evaluating the category, several structural considerations matter.

Board approval at the Sherry-Netherland and The Pierre is institutionally serious. Both buildings operate as cooperatives with full board approval mechanics. Standard cooperative criteria — financial profile, references, primary-residence intent — apply, plus additional attention to fit with the building's specific hotel-integration program. Approval is not the default outcome for marginal candidates. The transactional pacing should anticipate 6–10 weeks from contract signing to closing, with the board package preparation more substantial than at a comparable pure-residential pre-war.

The Waldorf-Astoria operates differently. The new condominium program is structurally more accessible. Board approval mechanics are dramatically less restrictive than at the cooperative buildings. Financing terms are more flexible. For buyers who would not be approvable at the Sherry-Netherland or The Pierre — or who do not want to navigate the cooperative approval process — the Waldorf offers a Schultze & Weaver architectural pedigree without the cooperative transactional friction.

Pricing requires apartment-level analysis. All three buildings produce wide pricing ranges driven by apartment size, exposure, floor altitude, view envelope, configuration distinctiveness (particularly the upper-tower and crown apartments at the Sherry-Netherland and The Pierre), and renovation history. Comparable sales analysis is informative but limited; the buildings' relatively low transaction velocity means historical sales data is sparse in any given twelve-month window, and apartment-to-apartment heterogeneity is significant.

Renovation is constrained. All three buildings are landmarked or within historic districts. The Sherry-Netherland and The Pierre have additional cooperative board oversight of renovation scope and quality, with attention to preservation of original Schultze & Weaver detailing where it remains in apartments. Buyers planning substantial renovation should engage the board and the building's preservation architect early.

Service costs are real. Hotel-grade service is available on an a la carte basis at all three buildings. Buyers should model anticipated service consumption — concierge requests, room service, housekeeping, valet — into annual operating budgets alongside maintenance or common charges. The marginal cost of hotel services is what makes the building structurally different from a pure-residential pre-war; that difference is the point, but it is also a budget line item.

View permanence is excellent. Central Park at the Sherry-Netherland and The Pierre is permanent; Grand Army Plaza is protected by multiple landmark designations. The Waldorf's Park Avenue exposures are protected by the building's own landmark status and by the broader landmarked context of Park Avenue's 49th–50th Street block.

Inventory turnover is moderate. The Sherry-Netherland (165 apartments) produces more frequent transactions than The Pierre (77 apartments). The Waldorf (372 condominium units) will produce substantially more inventory than either cooperative building, particularly during the initial sponsor-sales period of 2025–2027. Buyers with patient timelines have more flexibility at the smaller cooperative buildings; buyers with timing pressure may find more options at the Waldorf during the initial release.

Closing

Schultze & Weaver designed, in roughly a single decade, the buildings that defined the American public's mental image of what a grand hotel should look like. They worked across architectural vocabularies — Gothic Revival at the Sherry-Netherland, French Renaissance at The Pierre, Art Deco at the Waldorf-Astoria, Mediterranean Revival at the Miami Biltmore — with a compositional discipline rooted in Leonard Schultze's two decades at Warren & Wetmore. They invented, or substantially invented, the Manhattan hotel-as-cooperative typology that produced the Sherry-Netherland's 1954 conversion, The Pierre's 1959 conversion, and (in modified condominium form) the Waldorf-Astoria's 2025 residential program.

For buyers in this category, the relevant inventory is small, the cultural register is distinctive, the service infrastructure is genuinely uncommon, and the architectural pedigree is verifiable in a way that essentially no other Manhattan luxury sub-category replicates. The Sherry-Netherland and The Pierre have been in continuous cooperative operation for more than six decades each. The Waldorf has just returned to active inventory after an eight-year restoration. All three remain among the most recognizable pieces of architecture in twentieth-century New York.

A Schultze & Weaver hotel-residence is not the right purchase for every buyer. For the buyer for whom it is the right purchase, no other category meaningfully substitutes.

Related building profiles

• The Sherry-Netherland (781 Fifth Avenue) — Schultze & Weaver with Buchman & Kahn, 1927; 165 cooperative apartments
• The Pierre (795 Fifth Avenue) — Schultze & Weaver, 1930; 77 cooperative apartments

Run the numbers

• Mansion Tax Calculator — at the price points typical for this category, multiple cliff effects (5M, 10M, 15M, 20M, 25M) routinely apply
• Buyer Closing Cost Calculator
• Seller Closing Cost Calculator

Related guides

• Manhattan Co-op Buying Guide — Pillar 4 — board approval mechanics in detail
• Park-Facing Apartments Guide — Pillar 5 — comparative analysis across the Park-facing corridor
• NYC Real Estate Tax & Closing Cost Guide — Pillar 3

Considering a Schultze & Weaver hotel-residence?

The Roebling Team at Compass specializes in Central Park West, the Upper East Side, and the broader Park-facing Manhattan trophy market. We publish architect spotlights because the buyer for a Schultze & Weaver hotel-residence is making a structurally specific purchase that deserves more than generic luxury commentary — architecture, board culture, transactional mechanics, the realities of the hotel-cooperative program, and pricing at the apartment level.

If you're considering a purchase or sale at the Sherry-Netherland, The Pierre, or the Waldorf-Astoria, a 30-minute consultation is the right starting point.

Schedule a consultation →

Corey Cohen, Principal The Roebling Team at Compass 646.939.7375 · c.cohen@compass.com

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This page reflects publicly available information and The Roebling Team transaction experience. The Roebling Team at Compass does not represent the Sherry-Netherland, The Pierre, the Waldorf-Astoria, or their respective management, boards, sponsors, or hotel operators. © 2026 The Roebling Team at Compass.

Sources consulted:, The Sherry-Netherland, The Pierre, the Waldorf Astoria New York, the Miami Biltmore Hotel, and Warren and Wetmore; Wolfsonian-FIU exhibition program and library archives; The Cultural Landscape Foundation entry on Leonard Schultze; Pacific Coast Architecture Database (PCAD); public records and building reviews; Landmark Branding LLC architectural profiles; Architectural Record; SOM project documentation for the 2017–2025 Waldorf-Astoria restoration; Miami Design Preservation League; SAH ARCHIPEDIA. Where sources disagreed on dates or attributions, the most consistently sourced version has been adopted; specific attributions can be re-verified directly via the Wolfsonian-FIU archive.